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Patel Spring 2017 GL ARH 4470 Syllabus
Do not copy without the express written consent of the instructor. Syllabus Spring 2017 ARH 4470/ARH 5482 Contemporary Art A Discipline-Specific Global Learning Course1 Tuesday and Thursday 2-3:15pm Green Library, Room 165 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Contemporary Art and Theory Director, MFA in Visual Arts Affiliate Faculty, Center for Women’s and Gender Studies Affiliate Faculty, African and African diaspora Program Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: [email protected] Office hours: Thursday: 12:45-1:45pm Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art, Internet/New Media art, and Post- Internet art in the 1990s/post-2000 period. This course will explore the expansion of the art world beyond “Euro- America.” In particular, we will consider the shift from an emphasis on the international to transnational. We will focus not only on artistic production in the US, but also that in Europe, South and East Asia, Africa, and the Middle East. -
Wade Guyton : Double Negative = Doppelt Negativ
Wade Guyton : double negative = doppelt negativ Autor(en): Cotter, Suzanne / Opstelten, Bram Objekttyp: Article Zeitschrift: Parkett : the Parkett series with contemporary artists = Die Parkett- Reihe mit Gegenwartskünstlern Band (Jahr): - (2008) Heft 83: Collaborations Robert Frank, Wade Guyton, Christopher Wool PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-680628 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Wad* Gtt)/on St/ZAAATE COTTTÄ In 2007, a work by Wade Guyton appeared, intrigu- WADE Gt/FTOH, TRAGMEiVT OE SCULPTURE THE SEZE OE ingly, in the exhibition Very Abstract and .Ftgwr«- A HOt/SE (EEACEEEFWOOD,), 2002, S«12j/0'/ tiwe at Thomas Dane Gallery in London's St. -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Kelley Walker Biography
P A U L A C O O P E R G A L L E R Y KELLEY WALKER Biography BORN 1969 Columbus, Georgia EDUCATION 1995 BFA, University of Tennessee, Knoxville ONE AND TWO PERSON EXHIBITIONS 2018 Kelley Walker, Capitain Petzel, Berlin, Germany (4/27—6/9/18) 2017 Kelley Walker, MAMCO, Geneva, Switzerland (5/30 – 9/10/17) Kelley Walker, Thomas Dane Gallery, London, UK (9/28—11/18/17) Kelley Walker, Le Mur Consortium, Paris, France (10/16—12/30/17) 2016 Kelley Walker: Direct Drive, Contemporary Art Museum, St. Louis, MO (9/16- 12/31/16) 2015 Kelley Walker, Galerie Gisela Capitain, Cologne, Germany (4/16 – 5/23/15) Kelley Walker, Paula Cooper Gallery, New York (3/3 – 4/18/15) 2014 Walead Beshty + Kelley Walker, Paula Cooper Gallery, New York (11/8 – 12/6/14) Kelley Walker, Paula Cooper Gallery, New York (2/22 – 3/29/14) 2013 Wade Guyton, Guyton\Walker, Kelley Walker, Kunsthaus-Bregenz, Bregenz, Austria (4/27 – 6/30/13) 2012 Dreams Without Frontiers, Manchester Art Gallery, Manchester, UK (6/29/12 – 5/1/13) Kelley Walker, Galerie Catherine Bastide, Brussels, Belgium (6/2 – 7/21/12) 2011 Untitled, 2011, Redling Fine Art, Los Angeles, CA (11/17 – 12/22/11) 2010 Kelley Walker, Thomas Dane Gallery, London, United Kingdom (10/12 – 11/13/10) Front Room: Guyton\Walker, The Baltimore Museum of Art, Baltimore, MD (9/22/10 – 1/16/11) Kelley Walker, Capitain Petzel, Berlin, Germany (6/11 – 8/28/10) Whitney on Site: New Commissions Downtown: Guyton\Walker, Whitney Museum of American Art, New York, NY (5/8 – 7/7/10) 2009 Kelley Walker, Capitain Petzel Gallery, Berlin, -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter -
Luc Tuymans in the Dark Regions of The
Luc Tuymans In the Dark Regions of the My project is an effort to avert the critical gaze from the racial object to the racial World subject; from the described and the imagined to the describers and imaginers; from the serving to the served. - Toni Morrison" "Mwana Kitoko, The beautiful White Man." Thus did the people of the In Tuymans' oeuvre, a painting often acquires additional layers of Congo address their sovereign, Baudouin, king of the Belgians. Luc meaning through the precisely devised context of its first exhibition, Tuymans painted him descending the narrow stairs of his airplane in the frequently involving spaces that require a certain number and mid-fifties, wearing an immaculate white Navy uniform, looking just a combination of works. Even while painting, Tuymans often has a little too stiff for the elegance of his slim figure, one hand firmly precise notion of how the picture is to operate alone, together with grasping his sword, his eyes hidden behind sunglasses to protect them others, and in the room where it is first to be presented. In his most from the sun and the intrusive gaze of others. The painting of Baudouin, recent cycle for the David Zwirner Gallery in New York, the full- MWANA KITOKO (2000), shows a grand entrance in bright light that length portrait of the monarch is placed— among others—opposite a oscillates between the dazzling effect of a media event and the light of slightly smaller three-quarter portrait of a black man titled STATUE the tropics. The dark lens gives the figure an insect-like appearance. -
Luc Tuymans Good Luck
Luc Tuymans Good Luck October 27 – December 19, 2020 5–6/F, H Queen’s, 80 Queen’s Road Central Hong Kong Luc Tuymans, Still, 2019 © Luc Tuymans Courtesy the artist and David Zwirner David Zwirner is pleased to present an exhibition of new work by the renowned Belgian artist Luc Tuymans (b. 1958) at the gallery’s Hong Kong location—his first solo presentation in Greater China. On view will be a selection of recent paintings and a new single-channel animated video that are drawn from a range of historical and contemporary images. Together the works share an undercurrent, as suggested by the exhibition’s title, of paradox and uncertainty. Tuymans has become known for a distinctive style of painting that demonstrates the power of images to simultaneously communicate and withhold. Emerging in the 1980s, Tuymans pioneered a decidedly non-narrative approach to figurative painting, instead exploring how information can be layered and embedded within certain scenes and signifiers. Based on preexisting imagery culled from a variety of sources, his works are rendered in a muted palette that is suggestive of a blurry recollection or a fading memory. Their quiet and restrained appearance, however, belies an underlying moral complexity, and they engage equally with questions of history and its representation as they do with quotidian subject matter. Tuymans’s canvases both undermine and reinvent traditional notions of monumentality through their insistence on the ambiguity of meaning. The present exhibition brings together a wide range of global, historical, and contemporary references that reflect ongoing themes of interest for the artist. -
Biography Kelley Walker
Biography Kelley Walker Columbus, Georgia, 1969. Lives and works in New York SOLO EXHIBITIONS 2017 None 2016 2016 - Direct Drive, Contemporary Art Museum, St. Louis, USA 2016 - Schema, Contemporary Art Museum St. Louis, St. Louis, USA 2015 2015 - Kelley Walker, Galerie Gisela Capitain, Köln, D None 2014 2014 - Kelley Walker, Paula Cooper Gallery, New York, USA 2014 - Walead Beshty + Kelley Walker, Paula Cooper Gallery, New York, USA 2013 2013 - Guyton\Walker, Kelley Walker, Wade Guyton, Kunsthaus-Bregenz, Bregenz, A 2012 2012 - Dreams Without Frontiers, Manchester Art Gallery, Manchester, UK 2012 - Kelley Walker, Galerie Catherine Bastide, Bruxelles, B 2011 2011 - Untitled, Redling Fine Art, Los Angeles, USA 2010 2010 - Whitney on Site: New Commissions Downtown, Whitney Museum of American Art, New York, USA 2010 - Kelley Walker, Capitain Petzel, Berlin, D 2010 - Kelley Walker, Tomas Dane Gallery, London, UK 2010 - Front Room: Guyton\Walker, Te Baltimore Museum of Art, Baltimore, USA 2009 2009 - Kelley Walker, Capitain Petzel, Berlin, D 2009 - Kelley Walker, Massimo De Carlo, Milano, I 2009 - Guyton/Walker, Greene Nafali, New York, USA 2009 - Guyton/Walker, Air de Paris, Paris, F 2008 2008 - Billboards: Guyton/Walker, Laxart, Los Angeles, USA 2008 - Kelley Walker, Wiels, Bruxelles, B 2008 - Kelley Walker, Paula Cooper Gallery, New York, USA 2008 - Guyton/Walker, curated by Andrea Viliani, MAMbo–Museo dʼArte Moderna di Bologna, Bologna, I 2007 2007 - Kelley Walker, Magasin - CNAC, Grenoble, F 2007 - Kelley Walker, Mario Diacono Gallery -
“9 Art Events to Attend in New York City This Week,” Artnews, June 18, 2018
Editors, “9 Art Events to Attend in New York City This Week,” ARTnews, June 18, 2018. MONDAY, JUNE 18 Screening: “An Evening with Frances Stark” at Museum of Modern Art This event features the New York debut of Frances Stark’s video The Magic Flute, which the Los Angeles–based artist has called a “pedagogical opera.” Stark is known for her inventive, playful works that deal with language and syntax, and The Magic Flute is an experimental version of Mozart’s 1791 opera of the same name, this one with the music performed by an orchestra of young musicians (between the ages of 10 and 19) alongside animated text. Following the screening, Stark will discuss the work with Stuart Comer, the chief curator of MoMA’s department of media and performance art. The evening serves as an aperitif for a Stark show that opens on Friday at Gavin Brown’s Enterprise in Harlem. Museum of Modern Art, 11 West 53rd Street, 7 p.m. Tickets $8/$10/$12 WEDNESDAY, JUNE 20 Exhibition: John Akomfrah at New Museum The work of British artist, film director, and writer John Akomfrah first garnered attention during the early 1980s when he was part of the Black Audio Film Collective, a group of seven artists that was established following the 1981 Brixton Riots in London. The collective would come to be known for its incisive documentation of social issues in the U.K. and its focus on black British history. Since the group disbanded, in 1998, Akomfrah has been producing films that explore more broadly the themes of colonialism and memory. -
Dallas Museum of Art Horchow Auditorium
Artist Talk: Luc Tuymans June 3, 2010 Dallas Museum of Art Horchow Auditorium Jeffrey Grove: Good evening. Welcome to the Dallas Museum of Art. I'm Jeffrey Grove. I'm the Hoffman Family Senior Curator of Contemporary Art, and I am proud and privileged to introduce to you Luc Tuymans. [Applause] I hope you all had a chance to preview the exhibition before you came in for the talk. We are going to be very casual this evening. I'm not going tell you everything about Luc’s life story because you probably already know it or you wouldn’t be here, or you’ve seen it in the paintings down the hall. What we’re going to do is we’re sort of breaking our evening into three segments. Luc and I are going to talk first about the installation that you will see here at the DMA, about the exhibition overall, some of the pictures covering the arc, the trajectory of his career up to now. And then we’re going to take a break and Luc’s going to move over to the podium and do a presentation on pictures and some of his work and some aspects of his career that are not necessarily encapsulated in the exhibition we have on view at the DMA. And he’ll spend about 15 minutes on that then we’ll return over here. He and I will have a short dialog, and then we’re going to open up the floor to you for conversation and questions because I think that you’ll find what he has to say provocative, thought provoking and really will challenge some of your assumptions about what you may think you’ve seen in the work. -
Form Vision Hans Theys
Form Vision Hans Theys Form Vision Artists on Art Tornado Editions 2019 To Tamara Van San In 1983, a fellow student handed me this Banda copy, suggesting it might be interesting for me – as an aficionado of art and literature – to study the writings of Kafka without interpreting them. The origin of the book you are holding now lies within this generous gesture. Thirty years later, when I accidently rediscovered it, I realised that the text quotes a book by Susan Sontag, translated and typewritten by an unknown hand. Everyone has a sort of individual form vision. In all the greatest artists the seeds of this form vision has been present even in their early work, and to some extent their work has been a gradual unfolding of this rhythm throughout. (…) It’s something the artist can’t control – it’s his make up. (…) The less conscious you are of your own individual form rhythm, the more likely it is, I think, to get richer and fuller and develop. Henry Moore, 1941 What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. (…) The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means. -
Continuous Project Chose to Contrast with Avalanche’S 1970S Conceptualism
3 number 8). Number 2, then, was indicated temporarily by Bettina Funcke, Wade Guyton, a gap in the sequence, which has since been filled, as the Joseph Logan, and Seth Price collaborative has designated its website’s code as number New York City, Paris, Vienna, and Oxford 2. The first issue was followed, counterintuitively, by the 13 issues fourth issue, a reproduction of the first issue of Monika 2003–present Sprüth’s Eau de Cologne (1985), a 1980s feminist periodical that the editors of Continuous Project chose to contrast with Avalanche’s 1970s conceptualism. Six months later, Continuous Project number 3 instigated the “Dictator Series” with a reproduction of Muammar Qaddafi’s 1998 collection of short stories, Escape to Hell and Other Stories (though no other “Dictator” issue has been published, leaving this a “series” of one). Continuous Project’s fifth incarnation introduced its second tactic: Pacemaker, a Parisian art and culture periodical, accepted the submission of a scan of “Loveladies,” a typed proposal for an artwork by Robert Morris. Somewhere between this style of viral intervention and its earlier method of reproduction, number 7 9/13 appeared in the first issue of the “curated” Viennese art magazine Parabol, for which Continuous Project replicated Ferdinand Kriwet’s Publit, originally published by the Nova Broadcast Press in 1971. The reproduced copy was one of several artists’ works in Parabol’s enormous plastic bag. CONtINuOuS PrOJeCt Its latest tactic has been a tandem of original, bound With Continuous Project Bulletin bookworks, marathon readings, and video documentation 4/13 of those readings. In 2005, an unpublished interview between gallerist Virginia Dwan and historian Charles 5/13 Continuous Project is a mirror in time, a resurrection or a rebirth.